Mythologies, Identities and Territories of Photography Mythologies, Identities and Territories of Photography: Forever//Now Edited by Gemma Marmalade and Philip Harris Mythologies, Identities and Territories of Photography: Forever//Now Edited by Gemma Marmalade and Philip Harris This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Gemma Marmalade, Philip Harris and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6339-1 ISBN (13): 978-1-5275-6339-1 Produced by DMARC, University of Derby in partnership with FORMAT International Photography Festival The Digital and Material Artistic Research Centre (DMARC) is the academic research centre for the School of Arts, College of Arts, Humanities and Education at the University of Derby (UK). Our focus for DMARC is to increase understanding of the shifting boundaries and new relationships within artistic research practice and theory. TABLE OF CONTENTS List of Illustrations .................................................................................. viii Acknowledgements ................................................................................. xvi Preface ................................................................................................... xviii Introduction Prof. B.D. Delaire & Hefar Gotoph .......................................................... xx Some of ‘What Happened Here…’ v.2.0. FORMAT: A Case Study of Impact Through Legacy, Time and Place Huw Davies ......................................................................................... xxxix Research Papers 1. The New Dialectics of Seeing Jane Boyer .................................................................................................. 2 2. Forever in Stasis: Dialectical Dynamics between the Photograph and the Taxidermy Specimen Alexandra Murphy .................................................................................... 11 3. Locating the Harold Bratt Archive: An Alternative Journey through German Film Writing under National Socialism Chantal Riekel .......................................................................................... 32 4. Experiencing the Work of Shirley Baker: Subjective Time, Memory and Meaning Anna Douglas ........................................................................................... 40 5. Latent: The Practice of Uncovering a Hidden Homosexual History within the South East Archive of Seaside Photography Sam Vale .................................................................................................. 54 vi Table of Contents 6. Now and Then of Photography: Rethinking History in the Play-Space of Pictures Ana Catarina Pinho ................................................................................... 68 7. Gay Gardens: Visual Anachronisms and the Subversive Politics of Lesbian Representation Gemma Marmalade .................................................................................. 83 8. Locative Memory and Photography: A Study on the Psychology Related to Place and Memory in Domestic Photography Alys Russell .............................................................................................. 96 9. Beyond Facsimile: The Haptic Photobook as a Distributed Archive Tim Daly ................................................................................................. 111 10. Layered Realities and the Narration of History Marc Bosward ........................................................................................ 131 11. What is Different? @Wolfgang_Tillmans as a Laboratory for the Networked Image Claudio Reis ........................................................................................... 153 12. Collective Myths of Representation and the Rhetoric of the Leave Campaign Dominic Chapman .................................................................................. 164 13. Liv Noobi ............................................................................................... 181 14. A Profound Difference: Visualising Politics through Obsolete Media Philip Harris ........................................................................................... 183 Special Presentations 15. Africa State of Mind Skinder Hundal in conversation with Ekow Eshun ................................ 210 16. Tethered in Time: How SIXTEEN interacts with FOREVER//NOW Craig Easton & Anne Braybon ............................................................... 221 Mythologies, Identities and Territories of Photography: Forever//Now vii 17. White Heat of British Industry 1950s-1960s: Photographs by Maurice Broomfield Martin Barnes ......................................................................................... 243 Biographies ............................................................................................. 263 LIST OF ILLUSTRATIONS Figures Figure 1.i: Jane Boyer, Blue Sky Entanglements, 2018 ............................ 10 Figure 2.i: Alexandra Murphy, view of Hintze Hall at the Natural History Museum, London, 2017. Digital photograph ...................................... 24 Figure 2.ii: Alexandra Murphy, Donna Fortuna and Unknown 2, from the project, Dogs: An Inert State, 2014. Digital photograph printed on Giclée canvas, 30” x 20.” .................................................................... 25 Figure 2.iii: Alexandra Murphy, Turk from the project, Dogs: An Inert State, 2014. Digital photograph printed on Giclée canvas, 36” x 24.” .. 25 Figure 2.iv: Alexandra Murphy, the Dog Gallery at the Natural History Museum, Tring, 2012 .......................................................................... 26 Figure 2.v: Alexandra Murphy, Lucy Stone and Nuthurst Doctor, from the project, Dogs: An Inert State, 2014. Digital photograph printed on Giclée canvas, 24” x 20.” .................................................................... 26 Figure 2.vi: Alexandra Murphy, Shahzada and Marquis of Lorne, from the project, Dogs: An Inert State, 2014. Digital photograph printed on Giclée canvas, 36” x 24.” .................................................................... 27 Figure 2.vii: Alexandra Murphy, Unknown 3 from the project, Dogs: An Inert State, 2012. Digital photograph printed on Giclée canvas, 30” x 20.” ............................................................................................ 27 Figure 2.viii: Alexandra Murphy, Unknown 1 from the project, Dogs: An Inert State, 2014. Digital photograph printed on Giclée canvas, 36” x 24.” ............................................................................................ 28 Figure 2.ix: Alexandra Murphy, Snow Leopard from the project, Dogs: An Inert State, 2012. Digital photograph printed on Giclée canvas, 30” x 20.” ............................................................................................ 28 Figure 2.x: Alexandra Murphy, digital photograph of painting Warren Hastings (1766-1768) by Joshua Reynolds, oil on canvas 50” x 40.” ... 29 Figure 2.xi: Alexandra Murphy, digital photograph of Specere exhibition, 2017 .................................................................................................... 29 Figure 2.xii: Alexandra Murphy, close up detail from Snow Leopard from the project, Dogs: An Inert State, 2012. Digital photograph ............... 30 Mythologies, Identities and Territories of Photography: Forever//Now ix Figure 2.xiii: Alexandra Murphy, Hector Fodersdorf and Colonel Poste, from the project, Dogs: An Inert State, 2012. Digital photograph printed on Giclée canvas, 24” x 20.” .................................................. 30 Figure 2.xiv: Alexandra Murphy, Unknown 7, from the project, Dogs: An Inert State, 2014. Digital photograph printed on Giclée canvas, 20” x 16.” ............................................................................................ 31 Figure 3.i: Harold Bratt, Stille Helden, from the Photo-installation Der Grosse Schatten (The Big Shadow) 2010 ............................................ 39 Figure 4.i: Photograph courtesy © Shirley Baker Estate .......................... 53 Figure 5.i: Sam Vale. From the South East Archive of Seaside Photography. Digitally scanned 35mm slide. No date ........................ 62 Figure 5.ii: Sam Vale. From the South East Archive of Seaside Photography. Digitally scanned 35mm slide. No date ........................ 62 Figure 5.iii: Sam Vale. From the South East Archive of Seaside Photography. Digitally scanned 35mm slide. No date ........................ 63 Figure 5.iv: Sam Vale. Intervention Ia, 2019, from the South East Archive of Seaside Photography. Digitally scanned 35mm slide. No date ....... 63 Figure 5.v: Sam Vale. Intervention IIa, from the South East Archive of Seaside Photography. Digitally scanned 35mm slide. No date ........... 64 Figure 5.vi: Sam Vale. Intervention IIIa, from the South East Archive of Seaside Photography. Digitally scanned 35mm slide. No date ........... 64 Figure 5.vii: Sam Vale. Intervention Ib, from the South East Archive of Seaside Photography. Edited section from digitally scanned 35mm slide. No date .....................................................................................